Theatre Design & Technology - Feb 1969 - 3

EDITORIAL AND NEWS

The bulk of this issue is devoted to articles on stage lighting. To anyone following current practice in exhibition technology, display work or sound and light shows, it is a foregone conclusion that he can find as much valid experimentation in theatrical lighting outside the legitimate theatre as
inside. While this may boil down to a question of show
business semantics, it behooves the lighting man to look as
far afield as he can these days, in order to bring the best
range of solutions to his dramatic problems. The "Resources
for Man" pavilion at EXPO, ill ustrated on pages 20-21 is a
good example.
Professor Silberstein's article (p. 4) is addressed directly to
the problem of the technician whose artistic reach exceeds
his economic grasp. And just as technicians have done for
centuries, the author adapted available materials to meet the
need at hand. The range of the remaining three articles is
no pretense at covering the state of lighting technology today; but it is addressed to daily problems faced by the I ighting designer and technician at work.

The theatre on our front cover, Moscow's recent Satire
Theatre, presents a good example of one great diHerence
between European lighting practice and our own. As the
house lights go down, two young ladies will appear on the
small cantilevered box along the SR wall.
Through most of the play, they will remain or duty as living
extensions of the light board operator's hands: sometimes
following action with the small, but powerful narrow-angle
hand spots shown, sometimes refocussing the larger units
as scenes change a vista on the revolver. Clad in -grey
coats, they are wholly unobtrusive during the show, as are
fell ow attendants across the rear gallery at the left edge of
the photo. Their presence has nothing to do with economy
of instruments: I counted 64 instruments in use at a performance, in front of the main curtain alone. Instead, they
are there to make the light as malleable as the action it
complements (Appia called it "plastic" light).
In this country, we are well aware of the historical and
economic reasons for giving up follow-action operators in the
commercial theatre, except for the ubiquitous arc lamp
operator for musicals. In the non-commercial theatre, however, there are not such acute labor problems; here, perhaps, is the place to try making the light come al ive.
Too, there are physical limits imposed by the buildings.
Again, we can learn from a European example. Prague's Za
Branou Theatre, which houses the Laterna Magika, has a
grossly limited stage house-aotually in a basement. But its
auditorium lighting ports are designed so that all the instruments in the house-wall s and ceiling-are manually operable
when necessary, because space has been provided for operators when they are needed.
The Russian theatre, incidentally, is a renovated indoor
circus building. The remodeled product, finished about five
years ago, seats 1,350 in a pleasant, curved seating bank
divided into an orchestra and a sort of low gallE!ry. There is
a considerable apron, and the curved front curtain, when
opened, reveals a double (concentric) revolver which was
imaginatively used in the Ostrovski play I saw (" A Profitable
Position"), to move the action smoothly through the four or
five sets mounted on the outer reVOlver.
The auditorium walls are vertical wooden slats, clad in grey
vinyl. On close inspection, they looked like standard banister
rail stock. The next evening, at the huge Cinema Russia, I
saw exactly the same wall treatment again. Moral: there's
nothing that succeeds like success in MOSCOW-IOO.

I]illCJ THEATRE DESIGN AND TECHNOLOGY

FEBRUARY, 1969

3



Table of Contents for the Digital Edition of Theatre Design & Technology - Feb 1969

Contents
Theatre Design & Technology - Feb 1969 - 1
Theatre Design & Technology - Feb 1969 - 2
Theatre Design & Technology - Feb 1969 - 3
Theatre Design & Technology - Feb 1969 - Contents
Theatre Design & Technology - Feb 1969 - 5
Theatre Design & Technology - Feb 1969 - 6
Theatre Design & Technology - Feb 1969 - 7
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